The mail order package was sturdy and wrapped in custom parcel tape, with my name and address both writ large in india ink. For god’s sake what’s the shipping you’ve paid on that, my dad asked with a groan of disapproval, noticing the customs form attached and the multitude of stamps. In silent denial, I chose not to answer. It was certainly more than any sixteen-year-old could responsibly account for.
I slipped the package from his hands, still looking at the tape, water activated and alpine-themed. It too was adorned with a distinctive penmanship — more india ink. No more than an inch and a half thick, I was mesmerised by the unmistakable silhouettes of Douglas firs that lined its edges like a kanji forest. I said thanks and thanked the postman in turn, who was peering curiously around the door, waiting for a telling-off that never came. My dad absentmindedly closed the door behind him and in the postman’s face, forgetting his existence, his disgruntled eyes trained only on me. Tucking the package under my arm, I dashed upstairs to my room furtively before any further questions could be asked.
With my back to the door, grasping the new arrival tightly against my chest with one arm, I used the other to turn on my dad’s old hi-fi. I had inherited it — read: rescued it from abandonment in the loft — along with his record collection. It was positioned precariously behind the door — a terrible place for a record player, but there was no other space for it in my tiny room. It also functioned of a useful adolescent barrier — when there was music playing, you did not enter. My dad, respecting the sensitivity of a vinyl record, and all too aware that the records I played were once his own, seldom crossed the threshold.
Unfortunately, this inheritance, rather than sating a childhood desire to constantly listen to the Beatles, had instead inaugurated a bad habit: spending any and all money I had on records of my own. Taking a pair of dulled scissors from a crammed desk-tidy, I opened my new aquisition with glee, already knowing what was inside. If the customs forms were not enough, it was the parcel tape that had given it away. It was No Flashlight, an album by Phil Elverum, released the previous year under his (relatively) new moniker Mount Eerie.
Fifteen songs on a slab of pure white vinyl, the twelve-inch record was housed in a folded sleeve that, when unfurled, measured sixty by forty-two inches. Some said it was the largest album cover ever produced. On one side was a large drawing of Phil himself in the yawn of nature, made with heavy washes and expressive flourishes of yet more india ink. On the other side, a kind of exploded notebook, divided into half a dozen or so columns. Focusing on the notes, I laid the cover out flat on the floor of my bedroom as the needle dropped on “I Know No One”. This “giant explanation poster”, as it was called, covered all of the available floor space and it stayed there for the next six weeks of summer in 2006.
“Knowing no one will understand these songs / I try to sing them clearer”, Elverum sings. “I have tried to repeatedly explain / In complicated songs / But tonight we will find out / I know no one / And no one knows me”. As Elverum’s recordings filled the air over the following weeks, I poured over the lyrics and annotations and photographs and copious other notes that now carpeted the floor of my bedroom, attempting to prove him wrong. And yet, the closer I looked, the more aware I was that I could never know Elverum. In fact, I began to wonder to what extent Elverum could even know himself. The void turned reflexive. I don’t know myself either, I thought, with an adolescent profundity.
It soon became clear that this was not so much an album as a work of philosophy, although it was simultaneously an object that shirked all allusions to such grandeur. At the very least, “No Flashlight”, as an album title and as a mantra, articulated a worldview. It was a worldview that I felt was shared.
“Actually walking in the dark without a flashlight requires more sensitivity than we usually use”, Elverum writes in the liner notes of the song that gives the album its name. It is an album dedicated to the hairs that stand on the back of your neck as heightened animalistic senses take over in the dead of night — walking out into the night, “forgetting” your flashlight, and striding forth regardless, wide-eyed and afraid and thrilled to be there.
I knew what that was like. That was my favourite pastime. Stranded in suburbia, the outskirts of town were nonetheless within walking distance. Within five minutes, I was in fields, stumbling over refuse from the local quarry or skirting the edges of the M62. Within twenty minutes, I was on the banks of the River Humber, looking out at oil refineries and their UFO burn-offs as their chimneys faded into the black of the night. Elverum’s musings provided a lens through which to curate the circumstances of an eerie shuddering and see this otherwise mundane environment differently.
Vixen’s screams and the pitch black of night were abstractions hard to grasp back then. I really believed that something was lurking out there in the post-industrial wilderness, along the old railroads and quarry tracks. There was (something), as Elverum puts it, that “sings above the house”. But this was not simply a romancing of the night; in fact, the lesson Elverum made most clear was that we should get out of the romance. His was a kind of blackened psychedelia, finding the weirdness of real fear — an amygdalic realism — relishing the tricks the mind plays on itself and enjoying them like a magic show put on by the psyche.
No Flashlight, then, is an album about unbelief. It is an album of paradoxical perspectives. It is, as Elverum sings, about knowing the night from the perspective of the day; knowing the mountains from the perspective of the town; knowing a map of the land and the land in itself; seeing the moon reflected in a puddle of water and seeing the actual moon. It is speaking to that experience that fades away as soon as it is uttered or illuminated and being enchanted precisely with the impermanence of permeability and the enjoyment of unreason from a rational perspective. It is about the impossibility of no abstraction, of things in themselves, of nature and no nature. It is an album that straddles the strange relations and momentums and desires that entangle the world and the singer, and give form to the song of the world and the world in song. It is an album that revels in these contradictions and the confusion that follows them. It is a nest. It is one musician’s attempt to gather together enough references and sensations and coordinates to create a world inside this one. When passed through, this world changes how we might inhabit its nested neighbours.
That resonanted with me deeply. I, too, wanted to find another world inside this one.
I thought I might start my new life up north by writing a poem every day. I’d never done that before — write a poem — at least not seriously. In fact, previously, I might have told you, quite definitively, that I hate poetry. Not all poetry but certainly what passes for poetry these days – the sort of comment made by someone who doesn’t know what they’re talking about but is at least somewhat aware of the fact that they don’t like how the kids are doing it.
That’s how I felt as a teenager, most certainly. An old girlfriend took me to a poetry night once, and then a few years spent around universities meant that I heard plenty more student offerings. I hated (and still do hate) the over-affected drawl of your average “slam” poem. The spoken word feels like it has been reduced to a cheap rollercoaster and I find myself struck more by a poem’s rhythm than its meaning. That’s all well and good if you’re listening to R&B but, as the same rhythm unfolds again and again in the mouth of poet after poet, I can think of nothing more irritating than that pretentious vocal tic, whereby the emphasising of irregular syllables into the perpetual echo of the same syncopated utterance constructs a rickety scaffolding suggestive of meaning where there often isn’t much of anything. Just a half-witty coinage and a mode of reading that wouldn’t be amiss on a night with your local amateur dramatics society.
I have evidently thought long and hard about why I don’t like poetry…
But then, one day in lockdown, newly intrigued by the modernists of the early twentieth century, I read some T.S. Eliot aloud to myself on a whim, having thought I might give this poetry thing another go. I was transported. I had previously heard it said that poetry is written to be read aloud but I thought that was a general rule, not one to be taken on so personally. Hearing that beautiful composition reverberate through my own bones in the solitude of a coronavirus quarantine was a revelation. I decided I liked poetry then and I wanted to read more of it.
Writing poetry is, of course, another matter.
If I have any sort of reputation as a writer, it is for quantity over quality. Writing (or rather, blogging), for me, is a method of organising thoughts as they fall out of my head. It is a compulsion. It is far from some considered exercise in self-control. This is to say that it is not a matter of great contemplation and reflection – that’s called “editing”. Writing (and blogging most of all) is, instead, a torrent you later sift for gold. Who said “write drunk, edit sober”? I have been guilty of following that adage a little too closely in the past. Two pints deep is a sweet spot for productivity but when you write as much and as often as I do, that rule starts to impact your waistline before you know it.
Poetry, then — what for? Brevity is an interesting notion at present; condensation and economy – the careful management of resources. It would be an interesting challenge to be careful with my words for once; to try and say more with less. My problem, if I have one, is that I am often neurotically chasing long-winded truths. Writing comes easy because so does extrapolation, joining the dots, unfolding an argument, rambling, ranting, following the twists and turns of a thought and building a labyrinth of independent and borrowed knowledges, then providing the Ariadnean thread out of my own maze. I’ve long been aware that this is an unpopular way of working in fields adjacent to Continental philosophy and, particularly, the Ccru — where philosophy and poetry are often silent bedfellows — but this confession is not necessarily an admission of didacticism either. It is a habit picked up from Elverum, who would make the world’s biggest album cover to avoid the travesty of miscomprehension. In this way, it was Elverum who taught me that clarity can dazzle and confound just like opacity can, if done well.
Elverum has reneged on this tendency to over-explain, however. No amount of writing has allowed him to shrug off the suggestion made constantly in the music press that he sings about nature (rather than “no nature”). Embracing the futility of explanation, he has come into his own as a poet as much as he is a songwriter.
I don’t think that’s me though… To attempt poetry, and to try and become disciplined within its constraints, is an unnatural thought. It would, however, be a healthy exercise in letting go of this compulsion — to over-share and over-write. Or perhaps it would be a healthy way of diverting the aphoristic energy usually expended on Twitter.
It is surely no secret at this point that I’m struggling at the moment with the internet. Complaining a little too often about the succession of creeps I have encountered on social media in recent weeks, my friend Natasha recommended Juliet Jacques’ Trans: A Memoir. True enough, I found the way her relationship with social media develops over the course of the book to be so relatable. At first, she writes about how “social media keeps me sane, providing contact with friends, family and well-wishers at any time, saving dozens of energy-sapping conversations.” She reflects on the initial joys of Twitter too: “finding new books, films, art and writers, doing years’ worth of ‘networking’ in six months, making friends in London and feeling part of so many conversations, even sensing that old power structures were being challenged by those traditionally excluded.”
Later, however, she reflects on the fallout of the “trans wars” and the Guardian‘s now well-established propensity to suck when it comes to trans rights and representation. With the column that served as the basis for her book having been published there, the feeling of having to pick a side as an old friend and colleague outs themselves as a bigot is perhaps more of a conundrum than it would have been otherwise. She is almost too exhausted to take much of a stand. Instead, she just left Twitter.
“I’d thought my exhaustion and exasperation with Twitter would fade, and that I’d regain enthusiasm for the connections it offered”, she writes. “I didn’t: having confessed so much … I had nothing more to give.” Eventually, finding herself looking at her phone and “disdainfully going through the cavalcade of people’s actions and opinions, it suddenly felt like a radical gesture to just watch the films I’d rented and not broadcast about them.” In the end, she concludes: “Withdrawing from social media, especially Twitter with its bitter arguments, has helped. I think it’s terrible for writing.”
Reading this was just what I needed. It was reassuring, as I really do feel much the same way. I have a lot left to say and plenty to share but I think I am done with sharing myself, at least in the ways that Twitter — and, indeed, London — demands. Maybe poetry could be the right kind of hobby after all. An exercise in doing something for myself. (If I do start experimenting with poems, I don’t intend to share any. Can you imagine the horror?)
Whatever I end up doing, I know I want to do something different; that makes me act differently. The idea of some new project like a notebook of personal poems excites me because, in my mind, the first of October — when we will hopefully be settled in Brontë country — designates a line in the sand that I am preparing myself to leap far over. I’m not really sure what new life awaits on the other side but I’d like it to be different to whatever this London life has been. I’ve lived here for four years at this point and my life is completely unrecognisable to what it was before I got here. In 2016, I had no direction and no future and no prospects. I wasn’t even writing. I’d barely read any philosophy, at least not with any seriousness. I have been transformed, but into what? And by what? The hours and hours spent tapping away now feel like hours and hours spent holding onto the debris from some wreckage. I’d like to let go of it. I’d like leaving this city to be the beginning of some new relation. Less wreckage, more driftwood.
I think part of the renewed interest in poetry and lifestyle shifts may come from my persistent thinking about Phil Elverum’s latest project — his return to the Microphones in 2020 and his long reflection on what it means to release an album under that name again now. It has dragged me back to my own teenage years and the strange but shared realisation that, despite everything being so very particular and different now, I’m still interested in the same things I was when I first heard Mount Eerie. This is perhaps the knock-on effect of musical nostalgia — Elverum’s consideration of his trajectory as a band has made me consider my own trajectory as a listener, and the experiences that he has often soundtracked at various intervals.
I do distinctly remember a time when I went off his music entirely — I wasn’t much of a fan of Wind’s Poem or Ocean Roar but considered Clear Moon to be the best thing he’d done. Still, I cooled on him a lot for some unknown reason. It was a time when I found myself reacting against all my old ’00s idols. Regretfully, I sold a few of my rarer records by him, only to reconnect with his music again a few years later when Sauna heralded a really magnificent return to form. Everything that followed Sauna felt like music from a different (and no less brilliant) entity. It is interesting to see that “other” Elverum, pre-greif, is now returning tentatively to the fore.
Considering all these twists and turns of his life, his career, the time of the Microphones is another country. It is strange to think, in retrospect, that his most notable studio albums under that moniker cover only four years of output — from 1999 to 2003. I’m sure, like most, whilst the mythology of Elverum’s music from that time casts a long shadow, I never knew him before he was Mount Eerie. And so, in listening to The Microphones in 2020, I find myself thinking about that moment of transition. Because that is, after all, what The Microphones in 2020 seems to point to. It is not just an album about the Microphones but why Elverum is now Mount Eerie and if he still should be. In this sense, it is a nostalgic project that also begs the question of what comes next. It is clear that something has got to give. With the Mount Eerie project becoming so subsumed in a grief that he’s already discussed a gradual slide out of, what is it for the “Mount Eerie” project to now be so closely associated in the critical imagination with that moment of personal trauma? What is in a name anyway? Does his art warrant another name change now that so much seems different? Is The Microphones in 2020 not a kind of self-reassurance that, no matter what changes, the line of flight remains the same? From the vantage point of this strange templexity, does the work he’s produced since 2017 really constitute that much of a shift from what came before, despite how life-changing that year was circumstantially?
I’ve been thinking about this kind of transition a lot as we prepare to exit London. I’m left wanting to completely reorient my relationship to the world in response. Over the last few months, every day that goes by seems to be defined by the further entrenchment of a path inaugurated only as an attempt to leave it.
I wrote Egress as an exploration of and as a product of grief; I called it Egress because I hoped writing it and publishing it — and therefore relinquishing ownership of it — might allow me to let it all go. (This has happened but not without an unanticipated amount of difficulty.) That I began writing the book the same year Elverum released A Crow Looked At Me is a coincidence but one which I cherished after first hearing that release. Getting Postcapitalist Desire out into the world this month is a step into different and perhaps more positive territory, where I can emphasise a more impersonal relationship to the work rather than to the man. A further project I’ve been working on in lockdown remains related to Fisher only tangentially, moving out even further to consider more of the blogosphere as a whole. It feels like the beginning of my own Powers of Ten, produced bookwise. A slow process just begun but, on a personal level, perhaps a sensible one. There’s no rush, I tell myself. I mustn’t rush. After Egress came out, I felt like I might get the bends.
Watching and listening to how Elverum has undertaken his own shift in this regard has been an inspiring lead to follow — not only in coming to terms with the uncomfortable realisation that a horrible event can crystallise a thought you have long been preoccupied by, but also that there is a way back to a previously impersonal perspective, no longer behold to the details of a particular life or death.
Isn’t that the meaning of the Mount Eerie name, after all? An impersonal vector through which Phil Elverum the man can feel his size?
Although Elverum claims no one has asked what “Mount Eerie” means, the frequent deference he pays to Gary Synder in the liner notes to that first album suggests he has been trying to tell people for some time. Synder remains an interesting vantage point from which to view Elverum’s project in 2020 also.
Gary Synder’s first book on poems, for instance, featured a number of tributes to and translations of Han-shan, the Chinese poet from the T’ang dynasty known in English as “Cold Mountain”. As Synder explains, when Han-shan “talks about Cold Mountain he means himself, his home, his state of mind.”
Once at Cold Mountain, troubles cease —
No more tangled, hung-up mind.
I idly scribble poems on the rock cliff,
Taking whatever comes, like a drifting boat.
It’s a beautiful sentiment and one I’m left wanting to emphasise for myself, although I’m not sure I could get away with rebranding as “River Humber”. Still, the return back north feels like a chance to reconnect to old lives and loves lost over the last few years. The basic change in circumstance of having less of a stark divide between the woods and the city feels profound enough, but not as a way to “get back to nature”. In normalising its presence in our lives once again, I’m looking forward to getting out of its romance.
Elverum remains a guide, in this regard. More recently, he has begun referencing Joanne Kyger in his songs and on his record covers — a hugely accomplished poet in her own right who was, nonetheless, for a brief time in the 1960s, Gary Synder’s wife. (She passed away in 2017 also.) Returning to the sentiment of his old track “Log in the Waves”, on his 2018 album Lost Wisdom Pt. 2, Elverum sings again of “Enduring the Waves”, capturing an honest and uncomfortable sentiment that has haunted this goth blogger for much of the last decade. He sings, accompanied by Julie Doiron:
When I was younger and didn’t know
I used to walk around basically begging the sky
For some calamity to challenge my foundation
When I was young
So imagine what it was like to watch up close a loved one die
And then look into the pit
I lived on the edge of it
And had to stay there
Joanne Kyger said:
We fight incredibly through a hideous mish mash of inheritance
Forgiving for deeper stamina
That we go on
The world always goes on
Breaking us with its changes
Until our form, exhausted, runs true
We might read in this the birth of a new self for Elverum, taking all that has happened to him and finally running true, but is this not the same sentiment that was always behind the “Mount Eerie” name? Is this not Elverum returning to his own “Cold Mountain”? A mountain he has never left? Walking back in the front door to find himself all together, in one big empty house?
The coronavirus pandemic casts a long shadow over these vague suggestions of an egress from grief, and the fact that we are moving into a very high risk area (after London has somehow bizarrely avoided a second wave), complicates things further still.
I’ve been thinking a lot about the collective grief of our present moment — a grief that can barely be dealt with. The sentiment behind Egress lingers even though the specifics of that moment feel like a lifetime ago. I keep wondering if there are echoes of the interwar period here — as if those from a previous generation might recognise that big black cloud that hovers over us now, after a loss of life so large we cannot process it and so we shuffled on, sometimes breaking habits and often looking for new scenery, contrary to a nationalist sentiment from the government that insists somewhat pathetically on a return to business as usual.
In the 1920s, it is worth noting that the trauma of the war didn’t lead to a mass return to the countryside, as is being reported as happening now. The interwar years were instead defined by many people moving to the cities. This is perhaps because, prior to the Blitz, England’s cities were not yet sites of trauma. It was the countryside, instead, that was tainted. It’s peace had been disturbed, mutated by memories of battlefields and the bodies upon them, as if every English plain now contained the ghosts of the Somme. In his book The Lark Ascending, Richard King comments on the literary impact of this shift in the national consciousness. He quotes from Siegfried Sassoon’s anonymously written novel Memoirs of a Fox-Hunting Man, for instance, writing how:
George Sherston, the narrator and titular fox-hunter, recalls riding before the war when ‘The air was Elysian with early summer and the shadows of steep white clouds were chasing over the orchards and meadows; sunlight sparkled on green hedgerows that had been drenched by early morning showers … For it was my own countryside, and I loved it with an intimate feeling, though all its associations were crude and incoherent. I cannot think of it now without a sense of heartache, as if it contained something which I have never quite been able to discover.’ The ‘something’, which George was unable to discover, lay buried within the landscape of his memory. Sassoon’s use of the word ‘discover’, rather than recover or rediscover is notable; it suggests a source of impenetrable emotional energy made all the more overwhelming by his inability to locate it, an inability he is carrying as if it were a wound from the battlefield.
As we, along with many other friends, choose to vacate the city, I wonder if the inverse is taking place. Now it is the city that feels tainted but this needn’t be a reactionary about face. The same line of flight might apply…
I’ve been thinking about this line of flight whilst reading D.H. Lawrence’s 1922 novel Aaron’s Rod, but I’ll save those musings for another post…
To be continued…